해방기 우파 연극의 헤게모니 획득과정 연구

Abstract

After the Liberation, that the Rightists centering around the theatrical company 'The association of Dramatic Art(극예술협회)' held hegemony was natural. The competition between the ideas of theatres has no place from beginning. The point of time that the Rightists got into the action already was the time that the Leftists fell to withering in South Korea. Actually, the Rightists' destiny depended on the political direction of South Korea, and the commensalism of both together was easy thing. Nevertheless this process is important. Because this historical step was the first experience that the theatrical world associated 'making the state' with colonization past, simultaneously prepared the orthodoxy of Korean theatre. They forgot the trauma of the colonial period and remembered only 'The Society for Research in Dramatic Art(극예술연구회)'. After all, this mixing of forgetfulness and memory conferred the orthodoxy of Korean theatre upon 'The association of Dramatic Art', with missing an opportunity for recovering the trauma. And the discourses of the anti-commercialism and the anti-politicism were merely justification for strengthening their location, 'the state' was 'deus ex machina' that will offer the means of settling all difficult problems to them. From this process, as a necessity they could not help making the dramas at the request of the state. A series of these process at once was the bridgehead that they accepted by their important idea the anticommunism as a national ideology for a long time. Of course, it was the War that became the fuze.